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NMrn T 55% DuR.>nt ORLON acrylic .; .DuRmt certIfication mark One Industnal Plaza Grand Rapids, Minnesota 55744 NOVEMBEf\ 2,1987 with a weakness for gambling who loves to lose; Pandu, the man who commits a crime against passion and nature and is killed by a natural pas- sion of his own; Bhishma, who takes a vow of celibacy to stave off conflict in future generations and ends up causing an epic war-they're all of them meta- phors, eloquent because of their ex- traordinary specificity. It's a shame that Peter Brook was less interested in metaphor than in editorializing. F or metaphors are re- ally his field. He is, after all, the man who taught us to fill "the empty space" with Brechtian theatre, and metaphors are what Brechtian theatre is all about. ALYSON REED'S performance as Sal- .n ly Bowles in the current revival of "Cabaret," at the Imperial The- atre, perfectly captures a particular kind of upper-class English party girl. It's not just that her accent is good. (Actually, it was ever so slightly er- ratic the night I saw "Cabaret.") What's extraordinary is what Miss Reed has done to the quality of her voice-giving it a weird, tinny breath- iness and studied inflexibility of tone. With her loose limbs and peroxide hair, she looks the part, too, in a way that Liza Minnelli never did: sort of brittle, yet brassy, yet sleek. Every- thing in her bearing and demeanor (how she walks, how she stands, how she moves) is quintessentially thirties, and everything she does (the way she holds a long-stemmed cigarette or flut- ters her fingers-like a gambler flut- tering his hands above the chips-in preparation for being partnered in a dance) is in the service of an idea: something about the fragility of bad- ness and a certain kind of little-girl promiscuity. There's nothing vain or self-indul- gent in her performance. When Liza Minnelli played Sally Bowles in the movie of "Cabaret," everything she did was in the service of Minnelli, and what most people remember is Min- nelli, not Sally Bowles: Minnelli screaming under a railway bridge, Minnelli sobbing, Minnelli laughing, Minnelli suffering, and an image of tremulous lips and beckoning hands. Alyson Reed's performance does much to reclaim the figure of Sally Bowles. In other respects, too, this revival, directed by Hal Prince, is cu- riously felicitous. It seems meant both to re-create and to update his original 1966 production-which I, alas, never saw. There are costumes by Patricia